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Chinese Traditional Culture in Indonesian Film - The Photograph(2007)

Under Suharto‟s New Order regime (1966-1998), there is virtually no sign of ethnic Chinese culture or Chinese character featured in Indonesian film. However, after the outbreak of racial riot in 1998, between 2002 and 2007, there are a handful of Chinese-themed films produced and directed by Indones...

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Main Author: Teo, Miaw Lee
Format: Article
Language:English
English
Published: The International Journal of Innovative Design, Creativity and Social Sciences 2018
Subjects:
H Social Sciences (General)
N Visual arts (General) For photography, see TR
Online Access:http://ir.unimas.my/id/eprint/35383/1/CHINESE%20TRADITIONAL%20CULTURE%20IN%20INDONESIAN%20FILM%20%E2%80%93%20THE%20PHOTOGRAPH%20%20-%20%28abstrak%29.pdf
http://ir.unimas.my/id/eprint/35383/8/Fullpaper_vol2_no1_Teo.pdf
http://ir.unimas.my/id/eprint/35383/
http://www.ijidecs.com
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spelling my.unimas.ir.353832021-05-31T07:01:03Z http://ir.unimas.my/id/eprint/35383/ Chinese Traditional Culture in Indonesian Film - The Photograph(2007) Teo, Miaw Lee H Social Sciences (General) N Visual arts (General) For photography, see TR Under Suharto‟s New Order regime (1966-1998), there is virtually no sign of ethnic Chinese culture or Chinese character featured in Indonesian film. However, after the outbreak of racial riot in 1998, between 2002 and 2007, there are a handful of Chinese-themed films produced and directed by Indonesian indigenous filmmakers. Most of their films are subsidized by foreign funding and appeared in national and international film circuit. Among the films, The Photograph (2007), directed by a female filmmaker, Nan Achnas presents an enormous amount of traditional Chinese culture. This paper evaluates the formation of diasporic Chinese identity through a close analysis of the cinematic and visual feature of the film. Incorporated with the filmmaker‟s experience, the discussion of the paper focuses on the representation of diasporic Chinese identity in the film text and that emblematized by the recurrent appearance of three photographs in the film. The paper argues Chinese-themed film like The Photograph not only recuperated Chinese Indonesian stories but also re-emphasized the cinematic portrayal of multi-ethnic society on Indonesian screen. The International Journal of Innovative Design, Creativity and Social Sciences 2018-07 Article PeerReviewed text en http://ir.unimas.my/id/eprint/35383/1/CHINESE%20TRADITIONAL%20CULTURE%20IN%20INDONESIAN%20FILM%20%E2%80%93%20THE%20PHOTOGRAPH%20%20-%20%28abstrak%29.pdf text en http://ir.unimas.my/id/eprint/35383/8/Fullpaper_vol2_no1_Teo.pdf Teo, Miaw Lee (2018) Chinese Traditional Culture in Indonesian Film - The Photograph(2007). CHINESE TRADITIONAL CULTURE IN INDONESIAN FILM – THE PHOTOGRAPH (2007), 2 (1). pp. 1-8. ISSN 26008785 http://www.ijidecs.com
institution Universiti Malaysia Sarawak
building Centre for Academic Information Services (CAIS)
collection Institutional Repository
continent Asia
country Malaysia
content_provider Universiti Malaysia Sarawak
content_source UNIMAS Institutional Repository
url_provider http://ir.unimas.my/
language English
English
topic H Social Sciences (General)
N Visual arts (General) For photography, see TR
spellingShingle H Social Sciences (General)
N Visual arts (General) For photography, see TR
Teo, Miaw Lee
Chinese Traditional Culture in Indonesian Film - The Photograph(2007)
description Under Suharto‟s New Order regime (1966-1998), there is virtually no sign of ethnic Chinese culture or Chinese character featured in Indonesian film. However, after the outbreak of racial riot in 1998, between 2002 and 2007, there are a handful of Chinese-themed films produced and directed by Indonesian indigenous filmmakers. Most of their films are subsidized by foreign funding and appeared in national and international film circuit. Among the films, The Photograph (2007), directed by a female filmmaker, Nan Achnas presents an enormous amount of traditional Chinese culture. This paper evaluates the formation of diasporic Chinese identity through a close analysis of the cinematic and visual feature of the film. Incorporated with the filmmaker‟s experience, the discussion of the paper focuses on the representation of diasporic Chinese identity in the film text and that emblematized by the recurrent appearance of three photographs in the film. The paper argues Chinese-themed film like The Photograph not only recuperated Chinese Indonesian stories but also re-emphasized the cinematic portrayal of multi-ethnic society on Indonesian screen.
format Article
author Teo, Miaw Lee
author_facet Teo, Miaw Lee
author_sort Teo, Miaw Lee
title Chinese Traditional Culture in Indonesian Film - The Photograph(2007)
title_short Chinese Traditional Culture in Indonesian Film - The Photograph(2007)
title_full Chinese Traditional Culture in Indonesian Film - The Photograph(2007)
title_fullStr Chinese Traditional Culture in Indonesian Film - The Photograph(2007)
title_full_unstemmed Chinese Traditional Culture in Indonesian Film - The Photograph(2007)
title_sort chinese traditional culture in indonesian film - the photograph(2007)
publisher The International Journal of Innovative Design, Creativity and Social Sciences
publishDate 2018
url http://ir.unimas.my/id/eprint/35383/1/CHINESE%20TRADITIONAL%20CULTURE%20IN%20INDONESIAN%20FILM%20%E2%80%93%20THE%20PHOTOGRAPH%20%20-%20%28abstrak%29.pdf
http://ir.unimas.my/id/eprint/35383/8/Fullpaper_vol2_no1_Teo.pdf
http://ir.unimas.my/id/eprint/35383/
http://www.ijidecs.com
_version_ 1702173270946611200
score 13.211869

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